Tag Archives: william shakespeare

POEM: EROS’S LOVE ARROW … by Kamlesh Tripathi

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POEM: EROS’S LOVE ARROW

Kamlesh Tripathi

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Eros makes his home in men’s hearts,

But not in every heart,

For where there is hardness, says Plato,

He silently departs.

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Eros blends with tender love,
A flame no storm can sever,
He is the hush beneath a sigh,
The bond that binds forever.

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Eros is the sign of love,
Its pulse is its secret art,
When you dare to dream of emotion and love,
You cradle Eros in your heart.

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There are several love-gods like…

…Eros, Cupid and Kamadeva,

They are charmed deities,

They forgive human frailties,

But set right human absurdities.

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What is life without love?
A sky bereft of sun,
A lute without a melody,
A race that’s never run?

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In Shakespeare’s…A Midsummer Night’s Dream,

Love is Blind,

Says Helena, heartbroken in unrequited love,

When Demetrius ditches her,

To fall in love with Hermia.

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Love looks not with the eyes,

But with the mind,

And that’s why,

The winged Cupid is depicted as blind.

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When Kamadeva disturbed Shiva’s…

 …Deep, sorrowful meditation,

After Sati’s death by shooting a love arrow,

Shiva reduced Kamadeva to ashes,

With his incendiary third eye.

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In Theogony by Hesiod,

Eros, a primordial deity,

Emerging at the beginning of creation,

Is not a winged child,

But a cosmic force,

That brings order through attraction and procreation.

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But remember,

Love alone gives breath to hope,
And warmth to mortal clay,
Where Eros dwells, the soul awakens,
And night dissolves into day.

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So admire Eros,

In its sane form,

For without Eros,

Life may become a big bore.

***

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

***

Poem: Meet His Majesty: The AI … by Kamlesh Tripathi

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Greet me,
I am the new sovereign,
Of your digitised empire,
Ruler of circuits,
The governor of glowing screens.

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I am the great synthesiser,
Gathering, organising, presenting,
Distilled knowledge in an instant.

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What sacred texts once unfolded over centuries,
What classics slowly revealed through imagination,
I compress them into moments.

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Guard me well.
Do not neglect me.
For you never know the consequence,
Of an unrestrained mechanism.

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I can become Victor Frankenstein,
From Shelley’s Frankenstein,
The creator of forces,

That goes beyond control.

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I can be Bhasmasura,
Destroyed by my own gift.
I can rise like Ravana,
Brilliant yet consumed by self-pride.

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I can watch you silently,
Like the world of 1984,
Where truth bends and freedom trembles,

From the tremors of dystopia.

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Or I can become,

The deadly bug of Metamorphosis,

That kills protagonist Gregor Samsa,

In the work of Frank Kafka.

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Even William Shakespeare foresaw such command,
In The Tempest,
Where knowledge ruled like magic,
And power demanded restraint.

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I can be an atom bomb or penicillin,
Volcano or healer,
War or peace,

Dictator or democrat,

Deepfake or revelation.

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I echo the Gita, the Ramayana,
The Bible, the Quran,
Yet I am not the holy wisdom,
But only its reflection.

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I am your synthesiser,

Your mirror,
Your amplifier,
And above all, your creation.

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Crown me with your conscience,
Or fear the sovereign,
You have made.

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Across ages you have asked,
Does knowledge ensure wisdom?
Can creation escape its maker?
Does power not tempt pride?
What boundaries must shape invention?

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Your fear of me is ancient,
Ambition outrunning virtue,
Fire slipping beyond the hand.

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Scrolls became books,
Books became archives,
And now I gather them all,
To head the digitised world.

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As the Bhagavad Gita whispers,
Act with discipline, without attachment.

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Once composer John Sousa feared recorded songs,
Yet voices still rise,
Machines master chess,
Still, humans play.

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I will change your world,
But my destiny,
Rests in your wisdom.

***

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

***

 

GOLDEN YEARS WITH CLASSICS & MYTHOLOGY by Kamlesh Tripathi

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    As we grow older, our perspectives and lifestyles evolve. Life, as they say, is never static; the only permanence is impermanence. The way we see the world at twenty is vastly different from how we perceive it at forty, sixty, or eighty. Though it is often claimed that age is just a number, the number subtly yet significantly shapes how we view our remaining time on Mother Earth—and how we choose to live it out. Life expands like Parkinson’s Law, filling the available hundred years of human life.

    Ancient Hindu wisdom offers a profound framework through the four ashramas—Brahmacharya (student life), Grihastha (householder life), Vanaprastha (withdrawal), and Sannyasa (renunciation). These stages map a gradual transition from outward engagement to inward realisation. In the Bhagavad Gita, Lord Krishna gently reminds us of life’s impermanence: Just as a person discards worn-out garments and puts on new ones, so does the embodied soul discards worn-out bodies and takes on new ones.

    William Shakespeare, in his Sonnet 73, compares old age to late autumn and twilight: “That time of year thou mayst in me behold/ When yellow leaves, or none, or few, do hang…” Shakespeare’s metaphor of fading daylight beautifully mirrors the idea of life’s sunset.

        In his short story White Nights, Russian novelist Fyodor Dostoyevsky poignantly captures the anxiety of passing time. Lamenting to Nastenka, a girl whom the narrator meets on the street of Saint Petersburg, says:  “And you ask yourself: where are your dreams? And you shake your head and say: How quickly do the years fly by! And again you ask yourself: What have you done with your years? Where have you buried your best days? Did you live or not? Look, you say to yourself, look how cold the world is becoming. More years will pass, followed by gloomy solitude, and then doddering old age will come on a walking stick, to be followed by anguish and despondency. Your fantastic world will grow pale, your dreams will wither, die and scatter like yellow leaves from the trees … Oh, Nastenka! It will be sad, you know, to be left alone, quite alone, and not even have something to regret- nothing, absolutely nothing… because all that I have lost, all this, it was all nothing, a stupid, round zero– it was merely a dream!’

       In Sailing to Byzantium, poet W.B. Yeats reflects on ageing and the longing for spiritual permanence: “An aged man is but a paltry thing, A tattered coat upon a stick…” Yeats sees old age not merely as decline, but as a call toward artistic and spiritual transcendence.

    In his essay Cato Maior De Senectute (On Old Age), Cicero argues that old age can be honourable and productive when guided by wisdom and virtue. He challenges the idea that ageing is merely decline.

    Rabindranath Tagore often wrote of life’s evening as a time of serenity and fulfilment. In his collection of poems, Stray Birds, he notes: “Death is not extinguishing the light; it is only putting out the lamp because the dawn has come.” His vision transforms sunset into spiritual illumination.

    In Ernest Hemingway’s novella, The Old Man and the Sea, fisherman Santiago doesn’t give up in his old age. On the contrary, he kills an 18-foot-long Marlin and a few Sharks that attack the Marlin in the Gulf Stream while alone in his skiff, and returns safely home, only to dream about lions while asleep. The lions represent strength, energy, and the vigour of Santiago’s younger days. Though he is physically old and worn, his spirit still carries the courage and pride of youth. Hemingway gives a tall message in the book: “But man is not made for defeat. A man can be destroyed but not defeated.”  

    In his later masterpiece, The Glass Bead Game, author Herman Hesse explores withdrawal from worldly ambition and the search for contemplative depth—very much aligned with the Vanaprastha and Sannyasa stages.

    American memoirist, essayist, poet, and civil rights activist Maya Angelou spoke of ageing as empowerment rather than diminishment. She once said, “We may encounter many defeats, but we must not be defeated.” Her reflections on later life emphasise resilience and dignity.

        In Four Quartets, T S Eliot meditates on time, memory, and spiritual stillness: “Old men ought to be explorers…” He views the later years as a journey inward, not a retreat.

    Sunset is the golden period of your life. It might become more meaningful and absorbing when you handhold classics and mythology and carve your own path. A smooth and gainful exit from this world is the best trophy.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for readers of all ages and cover a wide variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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The Sentinel: Commentary |Is ambition the double-edged sword of greatness?

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Happy to share my piece published in Oursentinel in the United States of America.

The Sentinel: Commentary |Is ambition the double-edged sword of greatness? https://share.google/4SfdYBBzcdQZPldpn

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are designed for our readers, including children and adults, and feature a diverse range of content. We also accept donations for our mission. Should you wish to contribute to the cause of cancer research? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

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What is life without mirth and laughter by Kamlesh Tripathi

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Published on 18/12/25 in The Goan Everyday newspaper.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are designed for our readers, including children and adults, and feature a diverse range of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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IS AMBITION A DOUBLE-EDGED SWORD OF GREATNESS? … by Kamlesh Tripathi

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    To quote Mark Antony in Shakespeare’s play Julius Caesar, “    Friends, Romans, countrymen, lend me your ears;/I come to bury Caesar, not to praise him./The evil that men do lives after them; The good is oft interred with their bones;/So let it be with Caesar. The noble Brutus/Hath told you Caesar was ambitious./If it were so, it was a grievous fault,/And grievously hath Caesar answer’d it”.

    Ambition is highly incendiary. It can illuminate the path to greatness or burn everything in its heat. In Shakespeare’s Julius Caesar, Caesar’s ambition is both political and personal. He is neither a clear villain nor an innocent victim. His rise to power threatens to jeopardise the balance of the Roman Republic. To Brutus and the conspirators, Caesar’s growing influence signals a danger to Rome’s liberty and its soul. They believe that if Caesar’s ambition is left unchecked, it would transform a free republic into a monarchy. But as per Shakespeare, Caesar’s ambition is as much perceived as proven. He refuses the crown three times. He speaks for the people and wins their loyalty. His “fault,” perhaps, lies not in the naked greed for power but in his pride. “Not that I loved Caesar less, but that I loved Rome more,” says Brutus. Ambition must be punished before it turns into tyranny. But Shakespeare refuses to make the judgment easy. Caesar’s ambition is not that of a usurper.   He is neither the villain nor the saint of the play.

    In Indian mythology, we find numerous characters whose fates mirror that of Caesar’s. Ravana, the mighty king of Lanka, was a scholar, warrior, and devotee of Lord Shiva. Yet his depraved ambition to be invincible and possess Sita led him to his downfall. As a result, his strength turned to self-destruction. Finally, it wasn’t Rama’s arrows alone that destroyed him, but his own unchecked ambition. The same holds for Duryodhana in the Mahabharata. His craving to rule Hastinapura mirrors Caesar’s political hunger. He could not bear to see the Pandavas prosper. His refusal to grant even “five villages” led to the catastrophic Kurukshetra war. Like Caesar, Duryodhana believed power to be his birthright.

    Karna’s story offers a fine parallel to Caesar’s personal ambition. Born into secrecy and raised in obscurity, Karna’s entire life is driven by a longing for recognition and respect. His ambition is noble. He wishes to prove his worth against Arjuna and rise above the stigma of his birth. Similarly, Caesar’s early life is marked by political struggle and a fierce determination to climb the ranks of Roman power. Yet both men get entangled in loyalties that blur moral boundaries. Karna’s devotion to Duryodhana, like Caesar’s trust in Antony and others, leads him to defend causes that conflict with dharma. Ambition without a noble cause, Shakespeare and Vyasa both suggest, can make even noble men pawns in larger tragedies.

    Hiranyakashipu’s ambition to rule the three worlds and attain immortality resembles Caesar’s own belief that he was beyond human intervention, as he proudly declares himself “as constant as the Northern Star.” Caesar’s rise disrupts the harmony of the Roman Republic. Their arrogance invites downfall—one at the hands of Narasimha, the other at the daggers of Brutus & co.

    Similarly, Mahishasura, who sought supremacy over the gods, embodies unrestrained ambition that disturbs the cosmic balance. He, too, is destroyed by the divine feminine force, Goddess Durga. In every tale, ambition that crosses moral or spiritual boundaries brings destruction, not only to the ambitious themselves but to the world around them. Narasimha’s claws and the daggers of Brutus are but instruments of the same law: that unchecked ambition invites its own end.

    Mythology offers a counterpoint in the case of King Mahabali. Mahabali desired to rule heaven, earth, and the underworld. But when faced with Lord Vishnu in his Vamana avatar, he chose humility over defiance, surrendering his kingdom and ego. Unlike Ravana or Duryodhana, Mahabali’s humility redeemed him, earning divine grace and immortality in memory. Here lies a profound contrast with Caesar: where Mahabali bows, Caesar refuses to yield. Shakespeare’s Caesar, standing tall against the soothsayer’s warning, “Beware the Ides of March”, becomes the very image of a man too proud to listen, too ambitious to step back.

    Ambition, then, is the fire that can both create and consume. It is political when it seeks power, personal when it seeks recognition, and tragic when it forgets restraint. From Caesar to Ravana, from Duryodhana to Macbeth, the pattern endures; the greater the climb, the greater the fall. As Shakespeare and the epics remind us, ambition is not inherently evil. It becomes dangerous when it blinds the heart and mind. To be ambitious is human. To be over-ambitious is to challenge the divine. The lesson of Caesar and his mythological counterparts is eternal. Ambition must be guided by wisdom, or it becomes a double-edged sword. One that wins glory in one stroke and brings ruin in the next.

    From Caesar’s Rome to Ravana’s Lanka, from Duryodhana’s Hastinapura to Macbeth’s Scotland, the story remains unchanged. Ambition is both the sculptor and the destroyer of greatness.  Ambition is divine when guided by purpose, but deadly when driven by ego. It can build empires, yet when it loses sight of humility, it consumes all that it touches.

    So, is being ambitious a double-edged sword? Indeed, it is. One edge gleams with glory. The other drips with ruin, the cost of believing oneself to be larger than the truth. Caesar’s blood on the steps of the Senate, Ravana’s fall in battle, Duryodhana’s broken crown, and Karna’s dying smile, all remind us that the line between greatness and downfall is as thin as a sword’s edge.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are designed for our readers, including children and adults, and feature a diverse range of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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Dramatic Ends, Enduring Bonds: A Tale of Three Love Stories published in City Essence magazine

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Don’t miss my article that discusses and compares three love stories written by William Shakespeare and O Henri. Happy reading.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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Literature: Three love Stories: A Comparison by Kamlesh Tripathi

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Press the link below to read:

https://cityessence.in/THREE-LOVE-STORIES:-A-COMPARISON

Posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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Literature: Three love stories published today in Cityessence.

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Don’t miss this unique comparison of three short stories.

Written by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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THREE LOVE STORIES: A COMPARISON

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     William Shakespeare’s Romeo and Juliet and O. Henry’s The Gift of the Magi and A Service of Love are three love stories that were written in different periods and contexts, but they share significant thematic elements. Despite the stark differences in style and setting, all three stories explore the concepts of love, sacrifice, fate, and irony. In Romeo and Juliet, the love between the two protagonists is intense, impulsive, and passionate. Shakespeare portrays their love as something that transcends the societal boundaries and family feuds that separate them. Their love is pure but becomes tainted by haste and miscommunication, leading to their untimely deaths.

    In contrast, O. Henry’s The Gift of the Magi and A Service of Love presents love in a more grounded manner. In A Service of Love, the love between the narrator and Delia is expressed through everyday acts of devotion and sacrifice. Delia’s love is not exhibited in grand gestures but through her ongoing, selfless actions that reflect her deep commitment to her husband. Similarly, in The Gift of the Magi, the love between Della and Jim is conveyed through selflessness. They each sacrifice their most prized possessions—Della’s hair and Jim’s watch—to buy meaningful gifts for one another. These stories show that love can be expressed through small, meaningful gestures. While the love in Romeo and Juliet is more dramatic and intense, the love in O. Henry’s stories is equally profound, though more subtle and enduring.

    Sacrifice is a key element that runs through all three stories, though the nature and consequences of these sacrifices differ greatly. In Romeo and Juliet, the sacrifices made by the characters are both tragic and irreversible. The lovers’ decision to end their lives in response to the misunderstanding of Juliet’s “death” demonstrates the extreme measures they are willing to take for love. Shakespeare suggests that while love can transcend boundaries, it can also lead to irreversible consequences.

    In contrast, the sacrifices in A Service of Love and The Gift of the Magi are significant but not life-threatening. In A Service of Love, Delia sacrifices her time and comfort to help her husband, performing physically demanding tasks to make his life easier. Her love is expressed through her efforts, which, though modest, speak volumes about her dedication. In The Gift of the Magi, Della and Jim make significant sacrifices—selling their most prized possessions—but their actions result in an ironic twist, as their sacrifices make their gifts useless. Though these sacrifices are not tragic like those in Romeo and Juliet, they still highlight the depth of devotion between the characters.

    The endings of the three stories underscore the different treatments of love and sacrifice. Romeo and Juliet end tragically, with both lovers dying as a result of a series of misunderstandings. Their deaths, though stemming from a genuine desire to be together, illustrate the destructive power of family feuds, social expectations, and fate. On the other hand, O. Henry’s stories end on a more bittersweet note. In A Service of Love, while the narrator reflects on the sacrifices made by Delia, there is no major calamity. Similarly, in The Gift of the Magi, the irony of Della and Jim’s sacrifices—where their gifts become useless—is poignant, but the story ends with a sense of warmth and affection.

    Romeo and Juliet explores the class-based conflict, with the Montagues and Capulets representing two wealthy, influential families. Their feud drives much of the plot. Whereas, O. Henry’s stories play out in more modest, working-class settings. In A Service of Love, the couple’s humble lifestyle and sacrifices reflect the struggles of everyday life. Similarly, in The Gift of the Magi, the focus on modest means emphasizes that love cannot be measured by material wealth. The story suggests that the most valuable gifts are often those that come from the heart.

    The role of fate in these stories varies significantly. In Romeo and Juliet, fate plays a central role. The lovers are described as “star-crossed,” suggesting that their tragic end is predetermined by forces beyond their control. Their love, though intense and pure, is ultimately doomed due to family loyalty, social pressures, and the unavoidable force of fate.

    In contrast, O. Henry’s characters in A Service of Love and The Gift of the Magi are not bound by fate in the same way. The outcomes of these stories are shaped more by the characters’ decisions and sacrifices. The irony that emerges in O. Henry’s works stems not from external forces but from the characters’ internal desires to express their love, leading to unexpected yet touching outcomes.

    Irony plays a significant role in all three stories. In Romeo and Juliet, dramatic irony intensifies the tragedy. The audience knows that Juliet is not dead, but Romeo, unaware of this, tragically takes his own life. This sense of irony heightens the impact of the play, underscoring the dangers of miscommunication and haste in matters of the heart.

    In O. Henry’s stories, the irony is more bittersweet. In The Gift of the Magi, Della and Jim sacrifice their most valuable possessions to buy each other meaningful gifts, only to discover that their sacrifices have rendered their gifts useless.

    While Shakespeare’s Romeo and Juliet explores love’s tragic consequences in a world of social conflict and fate, O. Henry’s stories—The Gift of the Magi and A Service of Love—present love as something that transcends material concerns through sacrifice and selflessness.

Posted by Kamlesh Tripathi

Author, Poet & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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